Music transposing scale computer



2 Sheets-Sheet 1 Filed Aug. 21, 1957 A CDE INVENTOR.

Feb. 23, 1960 B. F. cAPPs MUSIC TRANSPOSING SCALE COMPUTER 2 Sheets-Sheet 2 Filed Aug. 21, 1957 d mm;

INVENTOR.

Beryl E 00 0 03 BY 8% 4770HNEX United States Patent MUSIC TRANSPOSING SCALE COMPUTER Beryl F. Capps, Mount Clemens, Mich. Application August 21, 1957, Serial No. 679,394

3 Claims. (Cl. 84473) This invention relates to a device for making transpositions of music.

In music transposition, it is necessary to transpose from one given key to another, for a particular instrument. This generally involves certain difficulties, inconveniences, and losses of time. In this connection, instruments for which music must be transposed are the so-called transposing instruments, such as a clarinet, a comet, trombone, and French horn. Instruments in the concert key or the key of C, such as violins and other string instruments, piano, and the human voice, play or sing music as written without the need of transposition.

The present invention has as its object the provision of a relatively small, easily workable device, capable of manufacture at a very low cost, that will permit the necessary transpositions to be made swiftly and easily.

A further object is to provide, for use in association with the slide device, a plurality of chord adapters, capable of use in locating, identifying, inverting, and transposing chords of various types and combinations. 7

Another object is to provide a slide-type transposing device which will differ from generally similar devices previously devised, in that it has three identical strips of scales exactly like a piano keyboard, arranged in an extremely simple way, to permit manufacture at a very low cost, as distinguished from devices previously conceived for the same purpose, which tend to be of a complexity such as to prevent their being used commercially.

Another object is to provide a device of the character stated that will use the chromatic or twelve-tone scale, giving each tone, whether it be a whole tone or accidental, equal value and space in the scale. By this means, it is proposed that an otherwise uneven progression will become an even step scale, thereby simplifying transposition to a marked degree, by permitting transposition to be carried out by merely measuring the amount of displacement between one scale and the other. Devices previously conceived for the same purpose, it has been noted, do not expose accidentals in a given key visuallyin the manner in which the present invention does.

Another object is to provide, in a device of the type stated, means that will further facilitate transposing for instruments, in particular brass instruments such as those indicated above, which means will show the fingering required for a given note opposite the same on a fixed scale of the device, while also showing notes on a movable scale that would be played by the fingering indicated in registration with particular indicia of the movable scale.

For further comprehension of the invention, and of theobjects and advantages thereof, reference will be had to the following description and accompanying drawings, and to the appended claims in which the various novel features of the inventionare more particularly set forth.

In the accompanying drawings forming a material part of this disclosure:

Fig. 4 is a view similar to Fig. 3 in which the slide is in another position, sition.

Fig. 5 is a view like Fig. 3 in which the slide is in still another position, for making yet another transposition.

for making a second type of transpo-' Fig. 6 is a view like Fig. 3 in which the slide is in another position, for making another type of transposition.

Fig. 7 is a fragmentary perspective view of the device, with a chord adapter constituting an aid used with the transposition scale, said chord adapter being in proper position upon the device.

Fig. 8 is a reduced, fragmentary top plan view vof the scale with a second chord adapter properly positioned thereon.

Fig. 9 is a greatly enlarged, detail sectional view through the chord adapter shown on line 9-9 of Fig. 8.

Fig. 10 is a view like Fig. 3 of a modified form of transposing scale.

Referring to the drawings in detail, the transposing scale is in the form of an elongated body portion 10 on which is slidably mounted a slide bar 12. Bar 12 is slightly greater in length than the body portion 10, so

- that the ends 13 thereof project beyond the ends of the body portion, in a normal position of the bar. Both the body portion and the bar may be formed of molded plastic as shown, although of course other materials, such as wood, could be used if desired.

In any event, body portion 10 has a flat top surface, having therein a lonigtudinally and centrally extending, wide, dovetail groove 14, with the bar 12 having a cross section complementing that of the groove and having a top surface that is coplanar with that of the body portion.

At opposite sides of the groove, the top surface of the body portion is provided with strips 16, 18. These might be pasted on, but of course the indicia appearing on said strips could be formed directly in the surface of the body portion, in which event it may be possible to completely eliminate the strips. The bar 12 has a similar strip 20.

All the strips are identical to each other as will be noted from Fig. 1. Each strip is divided into blocks, some of which are colored black with the remainder of the blocks being left white and being provided with indicia. The black blocks are shown at 24, with the remaining blocks being designated at 22 and having the letter indicia 23.

In effect, each strip is divided, in the illustrated example, into four octaves of notes and their accidentals. In this connection, variations could, of course, be made in this respect, with respect to the number of octaves, and furthermore, when it is desired to transpose for a different instrument requiring a different key setting, then the slide must be changed.

In the illustrated example, each strip is subdivided into groups of twelve notes or blocks, each of which is as follows: A-accidental-B-C-accidental-D-accidental-E-F accidental-G-accidental.

In Figs. 7 and 8, there are shown chord adapters gen: erally desginated at 26. The chord adapters may vary one from another, and two are shown in the illustrated- Patented Feb. 23, 1960 each edge, however, elongated, inwardly extending transparent areas 30 providing sight windows. As will be observed, the Windows are not uniformly spaced along each edge, and are located in difierent locations along the several edges of each plate. This is so that each edge portion can be used, selectively to locate the windows 30 thereof over selected notes of the strips 16, 20. The chord adapters are shown properly positioned in Figs. 7 and 8.

The chord adapter of Fig. 7 has legends along three sides thereof, as follows: minor seventh (this being the legend in use in Fig. 7); major 7; and diminished seventh. Along the fourth edge are the following notations: octave; leading tone;' super dominant; dominant; sub-dominant; mediant; supertonic; and tonic. There are no windows along said fourth edge.

The other chord adapter shown in Fig, 8 has windows along all four edges, with the following legends: major triad (this being the legend in use in Fig. 8); diminished triad; minor tria augmented triad.

The manner in which the chord adapters are made can be varied. In the illustrated example, however, which is presently preferred, each chord adapter has a body 28 composed of flat, clear plastic laminations 32, 34 between which is disposed a sheet 36 on which the several legends are placed. The sheet 36 is opaque except for thelocations of the windows, where the sheet could be cut out so as to provide full transparency at the window areas. This construction is desirable in that it provides for transparent windows at the edges without at the same time requiring notching of the plate, such as would be necessary if the windows were defined merely by recessing the plate at its edges.

In Fig. 10, there is shown another form of the inven tion, which is identical to the first form except for the fact that instead of the strip 18, there is provided a strip 18 This strip is used as an additional aid for use in transposing for instruments, particularly the brass instruments. In this form of the invention, the strip 18 is subdivided in a manner to provide representations of fingering for the French horn (any key) for notes on the top line. Thus, there is provided a plurality of series following one after another continuously for the full length of the strip 18 Each series includes the following indicia: 11, 2, 0, /2, l, 2, 0, 1, 2, 0,

As will be noted, the transposing scale is composed of three identical strips, the outer two fixed rigidly to the body of the scale and the center strip attached to a movable slide. Each strip is divided into units of equal size representing half steps on the music scale exactly as one would encounter by starting at middle C on the piano and playing each key (both black and white) through an octave or more. By using letters on the white spaces, the names of the notes are represented and the intervening black spaces would therefore represent the corresponding sharp or flat for the adjacent letter notes. By placing middle C on the center scale so that it is registered with a given space on the outer fixed scales, the accidentals (sharps or flats) of the scale in the key so selected will automatically become apparent because the black blocks or spaces will not line up for certain notes. If these black spaces have the tops and bottoms offset to the left with respect to the center scale, the accidentals should be read as flats. If the tops and bottoms of these black spaces are ofiset to the right with respect to the center scale, the accidentals should be read as sharps. This process can be used to tell the accidentals of any given key, or to tell the key of given accidentals by moving the center slide until the desired hlack spaces are offset (left for flats and right for sharps) and the key of. the scale will be on the outer fixed strips opposite the letter C on the center slide scale. This procedure applies to all major scales.

For minor scales, the above procedure applies with the exception that A should beu'sed for the guide note on the movable center slide instead of the C." If the modified minor scale is required, use D as guide note on the center scale. The logic behind the use of the above guide notes is as follows: in the key of C major, half steps occur between the 3rd and 4th and the 7th and 8th notes. The standard minor key has half steps between the 2nd and 3rd and the 5th and 6th notes. The modified minor scale has half steps between the 2nd and 3rd and the 6th and 7th notes. Therefore, when A is placed between the letter C on the outer scales,

' the half steps occur, star-ting with the C-A-C line, be-

tween the 2nd and 3rd notes (B and C) and the 5th and 6th notes (E and F). The same follows for the modified minor scale, using the C-D-C alignment, half steps occur between the 2nd and 3rd notes (E and F) and the 6th and 7th notes (B and C).

One may set the center index slide so that the letter representing the initial key is positioned exactly abreast of the letter on the outer fixed scales wh ch represents the new key to which the original key is to be transposed. One now locates any desired note on the center slide and reads its transposed value directly on the outer fixed scales.

For example, to transpose for cornet in B that from piano music which is in the key of C, one sets center index slide so that the C on the slide is opposite the black space between the A and B notes on the outer scales (see Fig. 3). This black space represents either A sharp or B flat. Music that is printed as C for the comet should be played as B flat on the piano to be in unison. The note A on the comet would be G on the piano, etc.

Due to the fact that the transposing slide is composed of equal spaces equivalent to half steps on the scale of music and all three strips are identical, the accidentals (sharps or flats) become of equal importance with respect to the so-called whole note tones of the scale and automatically appear in their proper place during transposition. This is not possible if transposition is tried by counting up or down so many notes, lines or spaces on the music staff. For example, B flat on the comet would become A flat on the piano, and C sharp on the comet would become B natural on the piano.

Another example of transposing is given in Fig. 4. To transpose for French horn from the key of F to the key of E, one sets the center index slide letter F opposite the letter B on the outer fixed slides. Music written for French horn in E and played on a French horn in F would be as follows; The note C printed on music-for the horn in B would be played as B natural on the horn in F. Thev note A printed on music for horn in E would be played as G sharp on the horn in F.

These examples hold true for transposition of music from any given key to another for any instrument in music transposition.

Instruments for which music must be transposed are the so-called transposing instruments such as the clarinet, cornet, trombone and French horn. Instruments in the concert key or the key of C, such as violins and other string instruments, piano and the human voice, play or sing the music as written without the need of transposition.

Whenever an S-note scale (Do-Re-Mi-Fa-Sol-La-Ti-Do) is started on any note but C, this scale is said to be in the key of the note represented by Do. Therefore, a major scale in the key of C" would be found on the white keys only of the piano and would have no accidentals (sharps or flats). A major scale started on any other note such as B flat, will have accidentals, and in the case of the key of B flat major, there will be two flats, viz. B flat and E flat.

To demonstrate this (see Fig. 5) one may set the center index slide of the transposer so that the letter C is opposite the B flat on the outer scales. The two 5. black lines which do not match straight across are found between the letters a and b and d and e on theouter scales, and since they are displaced to the left with respect to the center scale, they are flats. Music so written and intended for piano or violin in the concert pitch of C will not be in unison with the French horn or comet if played by these instruments without first being transposed to their respective keys. This double transposition is the stumbling block for most persons attempting to transpose such music mentally. 1

The slide transposing scale constituting the invention eliminates this difiiculty and the usual errors, for as can be seen from the foregoing examples, music in the key of B flat major having B flat and E flat in the key signature and written for concert pitch instruments in the key of C, when transposed by this device, has the accidentals automatically converted into their proper place in the new key and no further corrective steps need be taken.

For example, as seen in Fig. 6, the scale in concert score B flat major transposed for French horn in F would involve setting the letter f on the center slide opposite B flat on the outer scales. One reads as follows:

Concert pitch scale: BbC-D-Eb-F-G-A-Bb French horn scale: F-G-A-Bb-CD-EF This demonstrates how the scale of B major in concert key pitch is transposed for French horn in the key of P so that the two flats of the B major scale are automatically compensated for by the slide transposing-devlce.

It is important to note that it is not necessary to continually make adjustments on the device in transposing, once it is set for a given key combination. Any note encountered in the musical scale can be transposed at a glance without changing the setting so long as the key does not change, since the device covers approximately four octaves of notes and their accidentals. Of course, when it is desired to transpose for a different instrument requiring a different key setting, then the slide must be changed.

The chord adapters 26 are an adjunct to the transposing slide device. They can be used to locate, identify, invert and transpose chords of various types and combinations. Chords are classified according to their composition and as to their position of origin on the scale. The varied combinations of half steps within a chord between the individual tones composing the chord are responsible for the need of the composition names such as Perfect, Major, Minor, Augmented, and Diminished. The steps of the scale are given specific names to identify a chord which has its tonic note, or bottom note, in root position starting on that step.

These stop names are positioned on one of the chord adapters so that when the tonic position is lined up with the C on the scale of the transposing slide, all letters of the scale are named including the next letter c which is the Octave of the first. When the chord adapter is so placed, it is apparent that in the key of C, a Dominant chord would start on G. Using the Minor Seventh side of the adapter, one places it across the three scales of the transposer so that the printed words Minor Seventh lie approximately over the bottom fixed scale of the device and the left edge lies adjacent to and exposes the line of Gs. The clear windows will then show the Dominant Seventh Chord to be, reading left to right, G-B-D-F. If it is desired to know this chord in a different key, all that is required is to move the center slide until the letter or space representing that key is positioned between the C on the outer fixed scales, one then reads the transposed chord directly under the original chord through the transparent windows. For example, as seen in Fig. 7, the above Dominant Seventh Chord would appear as follows for the key of D: top line key of C-G-BDF; second 6 line key of DA-C#-E-G. In thekey of A fiat this chord would appear in the second line as Eb-G- Bb-Db, etc.

When the triad chord adapter is used, several pieces of information in chord construction are demonstrated. Using the major triad side of the card in the position as outlined above so that the three letters c line up to the left edge of the card (see Fig. 8), the Tonic Major Triad in root position in the key of C would be C-E-G. It naturally follows that this chord can be transposed by moving the centerslide to the desired key as described above. Further, it will be noted that various arrangements of the chord may be seen at a glance by covering up succeeding windows from the left. Reading left to right, one finds the first inversion of the chord to be E-G-C and the second inversion of the chord to be G-C-E. It also holds true that these inversions can be transposed to a new key by setting the center slide to the desired key.

The above procedures apply to the use of the chord adapters for any chord form (Major, Minor, etc.) and for any position within the chord structure (root, 1st inversion, etc.) and for any position on the scale (Tonic, Sub-Dominant, etc.) and for transposing from any given key to another.

With respect to the form of the invention shown in Fig. 10, it will be noted that the bottom line represents fingering for French horn (any key) for notes on the top line. The center line represents notes of music for French horn in the key of F when played on instruments in key of B flat with the fingering shown. This is reversed or altered as desired, for any key. For a horn in F with the music in B flat, place F under B fiat (B would be under E at the left) and read the fingering for the horn on the bottom line. It will be understood, in this connection, that individual strips would be required for the fingering applicable for playing of specific, different instruments. The invention in this connection is particularly useful to beginning students.

While I have illustrated and described the preferred embodiments of my invention, it is to be understood that I do not limit myself to the precise constructions herein disclosed and that various changes and modifications may be made within the scope of the invention as defined in the appended claims.

Having thus described my invention, what I claim as new, and desire to secure by United States Letters Patent is:

l. A slide device for transposing music comprising a body, a slide member carried thereby, and like series of indicia on the body and slide member respectively, each series being divided into half steps on the music scale, said device further including chord adapters in the form of fiat plates having edge portions opaque except for selectively and irregularly spaced transparent portions adapted to be placed over selected indicia of said body and slide member, each of said chord adapters having selected legends adjacent each edge portion, for use of a selected edge portion of each adapter, each adapter being of a laminated plastic formation and including clear plastic outer laminations between which is interposed a center lamination opaque except at the locations of said transparent portions.

2. A slide device for transposing music comprising a body, a slide member carried thereby, and like series of indicia on the body and slide member respectively, each series being divided into half steps on the music scale, said device further including a chord adapter in the form of a fiat rectangular plate having selectively and irregularly spaced transparent edge portions adapted to be placed over selected indicia of said body and slide member, said chord adapter having selected legends adjacent each edge portion thereof for use of a selected edge portion of the adapter, said adapter being opaque except at the locations of said transparent portions.

3. A slide device for transposin'g music comprising a body, a slide member carried thereby, and like series of indicia on the body and slide member respectively, each series being divided into'half steps on the music scale, said device further including a chord adapter in the form of a fiat plate having edge portions opaque except for selectively and irregularly spaced transparent portions adapted to be placed over selected indicia of said body and slide member, said chord adapter having selected legends adjacent each edge portion for use of a selected edge portion of the adapter, said adapter being of laminated formation including a clear lamination and a juxtaposed lamination which is opaque except at the locations of said transparentportions.

References Cited'inthe file of this patent UNITED STATES PATENTS Mihailofi -a June 22, 1943 FOREIGN PATENTS Great Britain 1894 France Sept. 8, 1906 Great Britain Sept. 15, 1954 

